Director David Yarovesky’s Brightburn reimagines the iconic origin story of Superman, which is itself a repurposing of the Moses myth, and gives it a horrific twist. Basically, it’s what if baby Kal El was sent to Earth to conquer it with no compunctions about slaughtering anyone who gets in the way. I’ve read it described as being a superhero film crossed with a slasher flick. While it’s definitely a subversion of the superhero genre, I’d actually describe it more as gory and dark sci-fi than as a horror movie. May 24th the James Gunn-produced film celebrates its fifth birthday, so let’s take a look back!
In 2006, loving couple Tori (warm and relatable Elizabeth Banks) and Kyle (practical David Denman) want to have a baby but are unable to conceive. One night, a craft seemingly from outer space crashes on their Kansas farm property. They discover an infant inside and decide to raise him as their own. Fast forward a decade or so and Brandon (Jackson A Dunn) seems like a normal kid, though he’s unaware of his true heritage.
Then one night his ship, which his parents have concealed from him, begins to call out to him psychically. This leads to the awakening of his godlike powers. Under the influence of the ship’s messaging, and wounded by the difficulties of coming of age, his moral compass takes a sadistic and manipulative turn. What happens when an unstoppable superhuman decides the rules don’t apply to him and what if he’s your child?
Fellow Gunn family members Brian and Mark’s script tweak other genre tropes, but to cite them would be to spoil some of the fun. That’s not to say that their writing is flawless, however. Certain sections feel undercooked and some of the supporting roles could’ve used some additional fleshing out. It’s a testament to the strength of the premise, though, that it leaves you wanting more.
Yarovesky’s direction makes the most of the relatively small budget. He grounds the story, giving it a realistic feel while emphasizing moments of horror. For instance, there are a handful of really well-done scenes of shocking gore. The young director and his cinematographer Michael Dallatorre also conjure some nice imagery, showcasing the glow from Brandon’s malevolent eyes in darkened spaces. It reminded me of how Michael Myers would materialize out of the darkness in the original Halloween. In fact, I’d say the film looks to John Carpenter’s classic quite a bit, even if it’s not specifically in a horror milieu.
The performances are all pretty good, and Dunn holds his own against more experienced actors. The film turns on his character and he convincingly makes the pivot from awkward youth to burgeoning megalomaniac. Placing the action in a rural area makes the picture feel different from its big-budget large-scale cousins and generates greater shocks as a result. Plus, Tim Williams’ score is effectively creepy.
David Yarovesky’s Brightburn is not without flaws. However, its conviction in pursuing its premise helps overcome its missteps. It hints at possible paths for a sequel and even seems to take place in the same world as James Gunn’s offbeat and underappreciated Super from 2010. Unfortunately, the new DC film head honcho has recently said there are no plans to revisit the nascent shared universe. Exploring parental anxieties and the difficulties of puberty through the lens of a dark inverted superhero origin story allows for a fascinating and unique watch. I genuinely hope we eventually get a follow-up. Recommended, with caveats, for fans of Unbreakable, Chronicle, and Watchmen.
Michael Cavender